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Krystian Zimerman|Lutoslawski : Piano Concerto, Symphony No.2

Lutoslawski : Piano Concerto, Symphony No.2

Krystian Zimerman, Berliner Philharmoniker, Simon Rattle

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It's perhaps difficult to speak of a state-of-the-art recording of the music of Witold Lutoslawski, given the influence exerted on this Polish composer by the aleatoric procedures of the American John Cage, but this Deutsche Grammophon release might qualify. The Piano Concerto of 1988 is performed by the player for whom it was written, Krystian Zimerman, and he and conductor Simon Rattle have the well-oiled quality necessary to bring out the shifts in the piano-orchestra relationship over the course of the work's four movements and the neat combination of Lutoslawski's modernist idiom with his earlier Bartók-influenced style. And you get a good representation of the phases of Lutoslawski's career, missing only that early phase: the Symphony No. 2 is a prime example of his aleatoric style (you might expect it to cause problems for Rattle and the tradition-bound Berlin Philharmonic, but their realization seems confident and fresh), while the Piano Concerto exemplifies the more accessible late Lutoslawski style. Beautifully recorded, this is a place where those curious about Lutoslawski can begin with confidence.

© TiVo

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Lutoslawski : Piano Concerto, Symphony No.2

Krystian Zimerman

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Concerto for Piano and Orchestra (Witold Lutosławski)

1
I. Dotted Quarter Note = 110 - Quarter Note = 70
Sir Simon Rattle
00:05:53

Berliner Philharmoniker, Orchestra, MainArtist - Sir Simon Rattle, Conductor, MainArtist - Christoph Franke, Producer - René Möller, Recording Engineer, StudioPersonnel - Krystian Zimerman, Piano, MainArtist, AssociatedPerformer - Witold Lutosławski, Composer

℗ 2015 Deutsche Grammophon GmbH, Berlin

2
II. Presto - Poco meno mosso - Lento
Sir Simon Rattle
00:04:39

Berliner Philharmoniker, Orchestra, MainArtist - Sir Simon Rattle, Conductor, MainArtist - Christoph Franke, Producer - René Möller, Recording Engineer, StudioPersonnel - Krystian Zimerman, Piano, MainArtist, AssociatedPerformer - Witold Lutosławski, Composer

℗ 2015 Deutsche Grammophon GmbH, Berlin

3
III. Eighth Note ca. 85 - Largo
Sir Simon Rattle
00:07:56

Berliner Philharmoniker, Orchestra, MainArtist - Sir Simon Rattle, Conductor, MainArtist - Christoph Franke, Producer - René Möller, Recording Engineer, StudioPersonnel - Krystian Zimerman, Piano, MainArtist, AssociatedPerformer - Witold Lutosławski, Composer

℗ 2015 Deutsche Grammophon GmbH, Berlin

4
IV. Quarter Note = 84 - Presto
Sir Simon Rattle
00:07:41

Berliner Philharmoniker, Orchestra, MainArtist - Sir Simon Rattle, Conductor, MainArtist - Christoph Franke, Producer - René Möller, Recording Engineer, StudioPersonnel - Krystian Zimerman, Piano, MainArtist, AssociatedPerformer - Witold Lutosławski, Composer

℗ 2015 Deutsche Grammophon GmbH, Berlin

Symphony No. 2 (Witold Lutosławski)

5
I. Hésitant (Live At Philharmonie Berlin / 2013)
Sir Simon Rattle
00:12:27

Berliner Philharmoniker, Orchestra, MainArtist - Sir Simon Rattle, Conductor, MainArtist - Christoph Franke, Producer - René Möller, Recording Engineer, StudioPersonnel - Witold Lutosławski, Composer

℗ 2015 Stiftung Berliner Philharmoniker

6
II. Direct (Live At Philharmonie Berlin / 2013)
Sir Simon Rattle
00:13:41

Berliner Philharmoniker, Orchestra, MainArtist - Sir Simon Rattle, Conductor, MainArtist - Christoph Franke, Producer - René Möller, Recording Engineer, StudioPersonnel - Witold Lutosławski, Composer

℗ 2015 Stiftung Berliner Philharmoniker

Albumbeschreibung

It's perhaps difficult to speak of a state-of-the-art recording of the music of Witold Lutoslawski, given the influence exerted on this Polish composer by the aleatoric procedures of the American John Cage, but this Deutsche Grammophon release might qualify. The Piano Concerto of 1988 is performed by the player for whom it was written, Krystian Zimerman, and he and conductor Simon Rattle have the well-oiled quality necessary to bring out the shifts in the piano-orchestra relationship over the course of the work's four movements and the neat combination of Lutoslawski's modernist idiom with his earlier Bartók-influenced style. And you get a good representation of the phases of Lutoslawski's career, missing only that early phase: the Symphony No. 2 is a prime example of his aleatoric style (you might expect it to cause problems for Rattle and the tradition-bound Berlin Philharmonic, but their realization seems confident and fresh), while the Piano Concerto exemplifies the more accessible late Lutoslawski style. Beautifully recorded, this is a place where those curious about Lutoslawski can begin with confidence.

© TiVo

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